Sentences with phrase «american narrative feature»

Sundance will premiere 16 American narrative feature films, and 26 films in the world cinema dramatic and documentary competitions.

Not exact matches

French animator Sylvain Chomet, whose idiosyncratic, elegant, hand - drawn style and quirky approach to narrative were introduced to American viewers in 2003's The Triplets of Belleville, is returning to screens with another largely wordless feature...

Presenting the world premieres of sixteen narrative feature films, the Dramatic Competition offers Festivalgoers a first look at groundbreaking new voices in American independent film.

That's not the case, however, with «Porto,» a sad, shimmering American - abroad love story starring the tragically late Anton Yelchin: In artfully deconstructing a one - night stand with one wistful eye on what was and another on what could have been, Gabe Klinger's first narrative feature winds up feeling appropriately elegiac in a multitude of ways.

But as with her queerness, her pop inclinations are a feature, not a bug, and it is difficult to separate Dirty Computer from the larger narrative of resistance across the arts today; from A Wrinkle in Time, a film dedicated above all else to instilling wonder and empowering young viewers; from Gabby Rivera's (now sadly discontinued) America comic book series, one centering a young, queer Latina, America Chavez, who repeatedly declares she is America; from An American Marriage, Tayari Jones's latest novel that emphasizes to be black is to be American.

Los Angeles, CA — May 14, 2018 — The Orchard announced today that the company has acquired North American rights to Eva Vives» feature directorial debut All About Nina, which had its world premiere in the U.S. Narrative Competition at the 2018 Tribeca Film Festival last month.

The Gist: It's been well over a decade since seminal American filmmaker (and sometime Indiewire blogger) Bogdonavich directed a narrative feature, and even as he's remained busy with journalistic pursuits and documentary work, it's hard not to wonder what sort of stories the man behind «The Last Picture Show» could tell today.

2017 GGA NEW DIRECTORS (NARRATIVE FEATURE) COMPETITION Duet, Navid Danesh, Iran (North American Premiere) After a Tehran musician instigates an encounter with his college girlfriend in an attempt to address the poor end their relationship suffered, their lives and the equilibrium of their spouses are thrown into existential crisis.

«It's not surprising that Blue Ruin is winning raves, for Saulnier's second feature has certain cinematic and narrative values that one doesn't often see in American movies, particularly action movies — and it does belong to this category, however distantly removed it is from what the words» action movie» have come to promise (i.e., fireballs, robots, robots throwing fireballs).

Let's be clear, though, Selma is a narrative feature — not a documentary — and it is told from a very specific point - of - view, the POV of an African - American woman too young to have been alive in 1965, but old enough to know how important that year was in the «arc of the moral universe.»

Ghostbox Cowboy Feature Narrative Country: USA, China Director: John Maringouin Writer: John Maringouin Starring: David Zellner, Robert Longstreet, Johnny Robichaux, Vincent Xie, Carrie Gege Zhang, John Maringouin In this darkly comedic morality tale, tech entrepreneur Jimmy Van Horn arrives in China armed with an invention and confidence, only to learn that being American is not enough to succeed.

«Talya Lavie's Zero Motivation, a dark comedy about the life of Israel's female soldiers, took the jury prize for best narrative feature at the Tribeca Film Festival, while Marshall Curry's Point and Shoot, the account of a young American caught up in the Libyan Revolution, was named best documentary feature.

To wit: in addition to all the episodes from each season of the show, this collection will (finally) feature both the European and American versions of the show's pilot (the former featuring a closed narrative loop, so it could be released as a feature), deleted scenes from both seasons, and loads of other extras, including a feature - length documentary called Secrets from Another Place.

The world documentary and narrative feature panorama added the best of Latin American cinema in competition and the Perspective Section.

Granik, who made her debut in 2004 with the addiction saga Down to the Bone (the titles of her first two features give the amusing impression that she has taken the term «body of work» very literally), skillfully sustains the atmosphere, climaxing with a viscerally eerie light - of - the - moon boat scene that more resembles the work of the French festival - circuit lightning rod Philippe Grandrieux than a thuddingly well - intentioned American life - on - the - margins narrative like Frozen River.

Deb Shoval's AWOL won the jury award (and a $ 1000 cash prize) for Best Narrative Feature, Maisie Crow's JACKSON took home the jury award (and $ 1000 courtesy of Classic American Hardwoods) for Best Documentary Feature, and Madsen Minax's KAIROS DIRT & THE ERRANT VACUUM received the nod (and a $ 1000 cash prize) as Best Hometowner Feature.

SPOTLIGHT PREMIERES Shining a light on new documentary and narrative features receiving their World, North American or US Premieres at SXSW.

The Narrative Feature Competition includes: Brotherhood, directed by Will Canon, Dance With The One, directed by Mike Dolan, Earthling, directed by Clay Liford, Helena from the Wedding, directed by Joseph Ifantolino, The Myth of the American Sleepover, directed by David Robert Mitchell, Phillip The Fossil, directed by Garth Donovan, Some Days are Better than Others, directed by Matt McCormick and Tiny Furniture, directed by Lena Dunham.

This 5 - day festival showcases over 100 American and international independent narrative, documentary and animated features and shorts as well as panel discussions and special events.

«Burning Sands» is one of 16 narrative feature films that has been chosen to play during the festival's Dramatic Competition, which offers audiences a first look at groundbreaking new voices in American independent film.

Although the narrative features Parks» determination to document African Americans, it offers no dates and little historical context for young children, who may also need help with terms such as porter, Life magazine, and Renaissance man.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

Accompanied by an illustrious publication featuring texts by Als and Jeremy Lewison, the exhibition chronicles an artist's personal and creative journey over the decades, while chronicling complex social and political narratives embedded in American history.

Best known for large - scale interiors, landscapes, and portraits featuring powerful black figures, Marshall explores narratives of African American history from slave ships to the present and draws upon his deep knowledge of art history from the Renaissance to twentieth - century abstraction, as well as other sources such as the comic book and the muralist tradition.

The exhibition grows out of Marshall's Rythm Mastr series, an expansive sequence of narrative works that tells a tale of urban life featuring superheroes inspired by African archetypes and African American cultural life.

Taylor McKimens has been known for years as a painter of «American Life», making large and narrative paintings that feature rural tableaux, economically marginalized people, overlooked and often beautiful details of the natural world and cultural debris.

Compelling features of the Winter Show include two of Walker's 2009 films — which are based on narratives from archives of a bureau established in 1865 to assist African Americans with the transition from slavery to freedom — presenting the artist's signature black - silhouette cut - out figures, which almost impossibly convey the complexities of race, gender, sexuality and power in their stilted and provocative movements.

Utilizing the exterior architectural niches and arches of the building, her work featured graphic folk art - inspired figurative narratives and vivid geometric patterns reminiscent of traditional American quilt work and Pennsylvania Dutch hexes.

This exhibition features paintings inspired by historic and literary narratives of the American South, including the speeches of Rev. Martin Luther King Jr.; Harriet Jacobs» Incidents in the Life of a Slave Girl; Mark Twain's Adventures of Huckleberry Finn; and W.E.B. Du Bois» Darkwater, among others.

With our empathic cultural ethics now under greater threat than ever before, the show provides an opportunity, in featuring artists who take apart ideologies through the imagery, narrative, and placement of their work, to step into direct relations with the cultural imaginary of what it means to strive toward becoming American.

The focus of the work is Marshall «Äôs expansive narrative, Rythm Mastr (preliminary drawings of which were featured in his Season 1 segment), a story of love, vengeance, and redemption in the inner city, featuring African - American superheroes based on traditional African sculpture and stories, and realized in comic strip form.

Drawing their inspiration from everything from American and European graffiti to calligraphy in addition to some historical sources the featured artists have been able to create a new body of work based on personal narratives that give form to a new and unique hybrid art form.

The exhibition features Raymond Pettibon as a mythologist who takes up and subverts the distinctive narratives of American culture, from Woodstock to the presidencies and the war against terrorism.

Featuring: Amna Asghar, Dana Davenport, Umber Majeed, Tammy Nguyen, Ke Peng, Sahana Ramakrishnan, Sheida Soleimani Amna Asghar speaks on the construction and translation of disparate references, cultures, geographies, and generations from Pakistan and America; Dana Davenport addresses the complexity of interminority racism within her own community and institutions from her experiences as a Black Korean American; Umber Majeed's practice attempts to unpack the temporalities within South Asia as site, familial archival material, popular culture, and modern national state narratives; Tammy Nguyen interrogates natural sciences and non-human forms to explore racial intimacies and US military involvement in the Pacific Rim; Ke Peng documents the feeling of alienation and disorientation from urbanization and immigration by taking a journey into an imagined childhood in China, Hunan, where she was born and Shenzhen, a modern city where her family relocates to; Sahana Ramakrishan explores myths and religion from Buddhist and Hindu tales to speak upon the magic of childhood and the power dynamics of sexuality, race, and violence; Sheida Soleimani is an Iranian - American artist and a daughter of political refugees, making work to highlight her critical perspective on the historical and contemporary socio - political occurrences in Iran.

Compelling features of the Winter Show include one of artist, Kara Walker's 2009 films — which are based on narratives from the archives of a bureau established in 1865 to assist African Americans with the transition from slavery to freedom — featuring the artist's signature black - silhouette cut - out figures, which almost impossibly convey the complexities of race, gender, sexuality and power in their stilted and evocative movements.

The hand painted mural was adapted specifically for The High Line from Marshall's ongoing comic series Rythm Mastr, which depicts both fantastical and familiar narratives featuring African American characters.